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Posts Tagged ‘Kevin Costner’

Robin Hood: Prince of Thieves

Monday, June 14th, 2021

June 14, 1991

Summer of ’89 had the movie about Batman, summer of ’90 had the one about Dick Tracy, and summer of ’91 had a very good period-set super hero movie that I reviewed a few years ago in the Summer Flings series. But THE ROCKETEER, for whatever reason, was unable to capture the zeitgeist, and I would argue that the movie to fill that BATMAN/DICK TRACY slot in the summer of ’91 was actually ROBIN HOOD: PRINCE OF THIEVES. It wasn’t based on a comic strip and didn’t have minimalist, symbol-based advertising art (not counting the silhouette logo on the merchandise), but it did fill that role of the well known old timey adventure hero repackaged as a thrilling modern popcorn movie.

And like those other two movies, its hero was played by a major movie star who was far from the obvious choice: Kevin Costner (MADONNA: TRUTH OR DARE), who was universally mocked for only barely trying a vague English accent. (Costner wanted to do one, director Kevin Reynolds didn’t want him to, and Reynolds mostly won.) But he was near the peak of his stardom, having done THE UNTOUCHABLES, BULL DURHAM and FIELD OF DREAMS in the last four years and coming immediately off of best picture winner DANCES WITH WOLVES. His antagonist, the Sheriff of Nottingham, was played by Alan Rickman, only a few years removed from the glory of Hans Grueber. And for the appreciators of locker pinups they threw in young Will Scarlett played by Christian Slater fresh off of YOUNG GUNS II and PUMP UP THE VOLUME. (read the rest of this shit…)

Madonna: Truth or Dare

Tuesday, May 11th, 2021

May 10, 1991

There were several movies in the summer of ’91 that were major pop culture events, widely discussed, referenced, parodied. One of them, surprisingly, was a music documentary shot mostly in 16mm black and white.

Or really more of a tour documentary than a music documentary. One thing that’s unusual about MADONNA: TRUTH OR DARE is that it’s entirely about its subject being a performer, a troupe leader, and a celebrity, and not at all about her music, or even the creation of her show.

The Blond Ambition World Tour was not a normal concert – it was more like an extravagant stage musical. On the four month, 57-show tour from Chiba, Japan to Nice, France, Madonna promoted her 1989 album Like a Prayer and 1990 DICK TRACY tie-in I’m Breathless, backed by seven dancers, two backup singers, an eight-piece band and a $2 million, 80 x 70 foot stage set that was hauled in 18 trucks and set up by over 100 crew members. Every song we see in the movie has its own backdrop, wardrobe (by the fashion designer Jean-Paul Gaultier – or, as we know him, the guy who did the costumes for THE FIFTH ELEMENT – who Madonna recruited in 1989 by sending him a nice letter) and complex choreography. When the movie begins they already seem like old pros at performing it. If there’s drama about something going wrong it’s not any of them messing up. It’s the sound system or the weather. (read the rest of this shit…)

Silverado

Thursday, May 24th, 2018

SILVERADO is Lawrence Kasdan’s upbeat 1985 western about some cowboys and, you know… they meet up and ride together and there’s guns and a jail and a saloon and a guy trying to steal land and all that. I don’t know, it’s a western.

This was Kasdan’s third time directing, after BODY HEAT and THE BIG CHILL. But consider that in the half decade before this he co-wrote THE EMPIRE STRIKES BACK, RAIDERS OF THE LOST ARK and RETURN OF THE JEDI. This is his rare directing job that has some of the vibe of those George Lucas productions. He wrote SILVERADO with his brother Mark (CRIMINAL LAW) and all these decades later he wrote SOLO with his son Jonathan (who had a bit part in SILVERADO at the age of 14) so I thought it would be a good time to write about this one.

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The Postman

Tuesday, February 7th, 2017

I seriously have been meaning to see THE POSTMAN ever since 1997 when it came out. I thought it sounded like a cool idea, and I seem to remember first hearing of it as an upcoming George Romero movie in a Fangoria Terror Teletype. But then Kevin Costner made it and I guess everybody saying such bad things about it kept pushing it down my list.

Well, I would like to thank everybody for that, because 19 years was exactly the right amount of time to wait – all the sudden there is upheaval in our country that makes this particular dystopia weirdly appropriate. Yes, it’s very corny, with slow motion images of triumph made all the more syrupy by a James Newton Howard score. And yes, it is three hours long, but still seems rushed at times, with odd time-passage issues and major scenes that fade in and out like a “previously on THE POSTMAN” highlight reel. But it has a uniquely optimistic spin on post-apocalyptic fiction, and man does it speak to me right now.

Kevin Costner (who directed from a script by Eric Roth [MUNICH, ALI], then rewritten by Brian Helgeland [PAYBACK, BLOOD WORK, A NIGHTMARE ON ELM STREET 4: THE DREAM MASTER, LEGEND]) plays a nameless wanderer in post-Doomwar 2013. The oceans have dried up (reverse WATERWORLD), civilization has collapsed and you gotta do a chemical test on water before you drink it. He’s traveling the Utah salt flats with his load-carrying mule Bill, looking for settlements where he can perform Shakespeare scenes in exchange for food. But he’s in one of these towns when the Negan-from-The-Walking-Dead-esque tyrannical warlord General Bethlehem (Will Patton, BROOKLYN’S FINEST, ROAD HOUSE 2: LAST CALL) comes through with an army on horseback conscripting ten men from each town. And they choose him. (read the rest of this shit…)

Hidden Figures

Tuesday, January 10th, 2017

HIDDEN FIGURES is an obvious, inoffensive, feel-good-movie with a noble purpose we haven’t seen before: honoring three African-American women whose mathematical genius helped NASA put people into space. Even today, women in scientific and mathematical fields are not given their just due. But these three were helping win the space race when they weren’t even allowed to use the same drinking fountain as their co-workers.

I don’t know if in real life these three drove to work together, but they did work together, and from what I’ve read the movie sounds fairly accurate. Katherine Goble (Taraji P. Henson, SMOKIN’ ACES) and Mary Jackson (Janelle Monae, MOONLIGHT) work as “Colored Computers” in a segregated department run by Dorothy Vaughan (Octavia Spencer, HALLOWEEN II). This is back when NASA was about to get their first giant room-filling IBM, so “computer” actually means a human being who calculates math. I never knew that. If a computer played chess was it called a video game?

Then Katherine gets an incredible assignment: working in the office calculating the trajectories and entry points for the first American manned space flights. Okay, I don’t know exactly what that means, to be honest, but it involves filling up chalkboards with a bunch of numbers and letters and lines and shit. Actually, it mostly involves this prick Paul Stafford (Jim Parsons from the fucking Big Bang Theory show) giving her snobby, suspicious looks and tossing giant piles of paper on her desk to go over the calculations that have already been gone over. And with a bunch of shit crossed out because he thinks it’s dangerous for her to know too much. (read the rest of this shit…)

Criminal

Thursday, July 28th, 2016

tn_criminalCRIMINAL is way too generic a title for this distinctive Kevin Costner action thriller, another enjoyable under-the-radar, higher-minded-than-advertised b-movie to put on the shelf next to 3 DAYS TO KILL. Costner would be the criminal of the title, a gruff, uneducated death row inmate with the strong action movie name of Jericho Stewart. He’s said to have some kind of condition that leaves him no capacity for empathy, like that creepy kid in MALEVOLENCE and BEREAVEMENT, so he experiences what the internet calls “the feels” for the first time when he’s the subject of an experimental surgery that implants another man’s memories into his brain.

I couldn’t help but think of FACE/OFF. Not that it has any of John Woo’s heightened filmatism or outlandish action – the tone, grounded world and love of intelligence agency war rooms are closer to a BOURNE movie – but that’s the only other movie I can think of that uses a sci-fi gimmick in a non-futuristic world and then puts an emphasis on exploring its emotional consequences.

The story starts with Bill Pope, not the cinematographer of THE MATRIX, but a CIA agent on the run in London, played by an uncredited Ryan Reynolds (BLADE TRINITY). He’s in the middle of a mission gone south – something about Spanish anarchists and a hacker and a buy, and people chasing him around town trying to trap him. When he ends up dead, CIA director Quaker Wells (Gary Oldman sporting another action movie name that’s not messing around) is desperate to find out what Pope was working on, because he was the only one getting close to a hacker (blackhat?) who may be able to remotely control military weapons. So Wells – actually, can I call him Quaker? – Quaker turns to this guy Dr. Franks (Tommy Lee Jones, UNDER SIEGE) who has been developing this memory-implanting theory for years. (read the rest of this shit…)

Waterworld

Monday, July 27th, 2015

tn_waterworld

RELEASE DATE: July 7
RELEASE DATE: July 28

Oh, WATERWORLD, how I’ve been meaning to rewatch you. Maybe I should’ve done it before FURY ROAD, though.

Let’s get the “flop” shit out of the way first. This is still most famous as a big expensive movie that pretty much just broke even. I don’t care. That’s none of my business. I’m old fashioned.

I always thought it was treated unfairly at the time. It was in the news for going over budget and the popularity pendulum was swinging back on Kevin Costner after a bunch of Oscars and hit movies. It became everybody’s target and they were excited for how terrible it was supposedly gonna be. (This article from The Independent at the time examines the reasons for the backlash against Costner.)

Here, let me check if it was nominated for Razzies. Yep, Dennis Hopper won worst supporting actor and it was nominated for worst picture, actor and director. (SHOWGIRLS was the big winner that year.) So that speaks well of the movie if those assholes were against it.

We’ve been looking at the other movies of that summer, so we can see in context that it’s somewhere in the upper range of quality for what was in theaters at the time. It’s for sure less embarrassing than BATMAN FOREVER or MIGHTY MORPHIN POWER RANGERS: THE MOVIE, more impressive than CONGO, arguably better than JOHNNY MNEMONIC or JUDGE DREDD. It didn’t deserve all the hate that it got.

Unfortunately that’s not to say it’s some misunderstood gem either. (read the rest of this shit…)

3 Days to Kill

Tuesday, May 12th, 2015

tn_3daystokillIn 3 DAYS TO KILL Kevin Costner plays Ethan Renner, a CIA agent who finds out he has brain cancer spread to his lungs and three months left to live. The three days of the title refers to something separate from the three months to live. Don’t worry about it. He has to catch a guy, but when his heart rate gets too high he hallucinates and then passes out, which can be inconvenient in this line of work (or I guess pretty much any line of work or even leisure activity). This may sound like Costner’s version of DYING OF THE LIGHT, but in fact it’s his turn at a TAKEN type old man action movie written and produced by Luc Besson.

This one’s almost like TAKEN remixed. Instead of already having left the CIA he’s forcibly retired after collapsing on the job at the beginning. Instead of having to go to Paris to save somebody he already lives there. In the tradition of Liam Neeson’s Bryan Mills character he is still in love with his ex-wife Christine (Connie Nielsen in the Famke Janssen role) and wants to spend time with his teenage daughter Zooey (Hailee Steinfeld from TRUE GRIT), who barely knows him and calls him “Ethan” instead of “Dad.” (read the rest of this shit…)

A Perfect World

Friday, January 3rd, 2014

tn_aperfectworldI started 2013 with a review of the broad but likable baseball movie TROUBLE WITH THE CURVE, where I wrote, “I don’t know if this is true but I heard it’s good luck for movie critics to start a year with a Clint Eastwood review.” I made the whole thing up, and the results were inconclusive anyway. I wouldn’t say last year was exactly a day at the races for me, but at least I wasn’t one of the horses. There were a few scares but they coulda been worse. I’m still going.

It doesn’t really matter if the superstition holds water, though, ’cause a Clint movie is a good way to start a year anyway. I might make it a tradition. I decided to go with A PERFECT WORLD this time because I’d been meaning to see it for a long time and I was reminded of that recently when the screenwriter, John Lee Hancock, directed SAVING MR. BANKS. Between that and THE BLIND SIDE (and maybe THE ROOKIE, I haven’t seen that one) Hancock’s John Hancock has become sort of better-than-expected middlebrow feel good type movies. In comparison his script for A PERFECT WORLD, directed by Clint and starring Kevin Costner, is pretty bleak. I mean it’s about a sweet relationship between a fugitive and a little boy. And it means it. But it doesn’t try to make you forget that this is a murderer taking a little boy hostage, putting him in danger and exposing him to terrible, traumatic events, even making him point a gun at people. He tries to be nice to the kid and encourages him to do harmless fun things his mom doesn’t let him do, but that doesn’t make him Mary Poppins or Sandra Bullock. More like a deadbeat uncle who tries to be your bro. (read the rest of this shit…)

Man of Steel

Friday, June 14th, 2013

tn_manofsteel(contains THE SPOILERS)

I cannot tell a lie, I was really fuckin excited for the new Superman movie. I went to the midnight show and everything. I showed up way too early. I passed a guy dressed as Superman going into the john and might’ve given him a high five if I knew he’d washed his hands. I’m down for this. I wanted this to be great.

I’m not one of those people who shits on SUPERMAN RETURNS. I liked it, I just didn’t love it, mainly because I think it was shackled by nostalgia, held back by trying so hard to recapture the old Richard Donner movies. I know this is considered blasphemy in many circles (you’re gonna be hearing that a couple more times in this review) but I just don’t like those Superman pictures that much. They were great in the ’70s and early ’80s but to me they haven’t held up the way the Spielberg and Lucas joints of the era still do and will continue to. So as good of a job as Bryan Singer did of imitating that old version of Superman and goofball Lex Luthor and re-using the same font and music and all that, I feel like what I want to see now is start over and do a different take on Superman that’s made for the futuristic year of 2013. That’s what director Zack Snyder, writer David S. Goyer and producer Christopher Nolan have done with MAN OF STEEL and… well, I like not love this one also. But maybe like it a little more. Maybe a smidge closer to love on this one. I don’t feel high off it like I did off the Batman movies. But I am still thinking about it, and already want to see it again, see how it plays without all the baggage of expectations. (read the rest of this shit…)